The New York Times' Scores

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For 20,313 reviews, this publication has graded:
  • 46% higher than the average critic
  • 5% same as the average critic
  • 49% lower than the average critic
On average, this publication grades 4.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Short Cuts
Lowest review score: 0 Gummo
Score distribution:
  1. Positive: 9,401 out of 20313
  2. Mixed: 8,446 out of 20313
  3. Negative: 2,466 out of 20313
20313 movie reviews
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  1. Morgan
    Dipping no more than a toenail in the philosophical waters surrounding personhood, the movie is at once ideologically vague and maddeningly self-serious.
  2. Marauders
    Marauders lays out a scenario in the first 40 minutes or so that, oddly enough, makes you think “this is not an entirely uninteresting premise for a thriller.” But after that, things devolve into “this is extremely far-fetched” and, finally, “this is goofy.”
  3. 1941
    1941 is less comic than cumbersome, as much fun as a 40-pound wrist-watch.
  4. The God Cells
    The film, awkward and amateurish, is by Eric Merola, and at least it’s useful in explaining the differences among the various types of stem cells that are being explored for medical treatments.
  5. The Greasy Strangler
    Its willful determination to be outré proves its undoing.
  6. Spaceman
    The effort is commendable, but the execution is rocky.
  7. Rough Night
    It’s all blithely formulaic and would be more irritating if the performers — who include Zoë Kravitz and Illana Glazer — weren’t generally so appealing.
  8. The Grinch
    The filmmakers keep the visuals merry and popping bright. Benedict Cumberbatch, voicing the Grinch, opts not to compete with Karloff at all, which is smart, and speaks in an American accent, sounding rather like Bill Hader, which is confusing.
  9. Adult Life Skills
    Anna feels more like a device than a person, a collection of eccentric behaviors (her job involves counting molehills) that support an aesthetic of excessive cuteness.
  10. The Pickle Recipe
    Hilarity is supposed to ensue, but the script, by Sheldon Cohn and Gary Wolfson, is tepid stuff, and Michael Manasseri, the director, doesn’t find a way to enliven it.
  11. Max Rose
    The writer and director, Daniel Noah, creates no space for the story’s darker corners, or for his star to delve beneath the surface of Max’s depression and anger. Then again, who cares? It’s Jerry Lewis, so everyone can just shut up.
  12. Kickboxer: Vengeance
    Sure, the new action workout Kickboxer: Vengeance — a reboot of a foot-fighting franchise from the 1980s and ’90s — follows a tiresome martial-arts movie formula. But amid the hoary conventions are agreeable inklings of an alternate sensibility.
  13. Bad Santa 2
    Even the profanity has lost its zing in this cut-rate retread, which mostly prompts admiration for how far Mr. Zwigoff ran with one joke.
  14. Strange Weather
    A case of excellent actors’ straining to elevate a contrived screenplay.
  15. Mohenjo Daro
    Mr. Roshan, an appealing dancer, works hard to twinkle his way into our affections and make Sarman something more than a cardboard hero. He can’t, but the effort is appreciated.
  16. The Late Bloomer
    To make the premise of a 30-year-old who acts like a 15-year-old work, Mr. Pollak has made everyone else in the film act like a 15-year-old, too. It doesn’t quite click.
  17. Jack Goes Home
    The script, by Mr. Dekker, spirals into a muddle of ambiguity, leaving only the imagery and the performances to save the movie. And try as they might, they cannot.
  18. In Dubious Battle
    It is too flat-footed and sloppy to explore the obvious parallels between then and now, and the movie is peppered with gratuitous star cameos that distract rather than enlighten. At least it means well.
  19. Cardboard Boxer
    Mr. Church fully inhabits the character, making the most of Willie’s dented moral sense and his many limitations. But the film constructs some too-perfect solutions to problems and manipulates our emotions.
  20. Come What May
    The depredations of the Nazis are depicted in a way that will make viewers want to declare war on Germany anew. But Come What May is also too pretty of a movie. It is often sentimental and, worse, schematic.
  21. Blair Witch
    The acting and filmmaking are too crude to make you care about what happens to any of them, even though you know pretty much exactly what that will be.
  22. The Promise
    Weighed down by the worthiness of its intentions, The Promise is a big, barren wartime romance that approaches the Armenian genocide with too much calculation and not nearly enough heat.
  23. The Whole Truth
    The Whole Truth plays like an especially claustrophobic courtroom procedural, drably photographed and generically framed.
  24. Seed: The Untold Story
    Seed: The Untold Story is one of those documentaries that get you riled up about a situation but leave you feeling that nothing significant can be done about it.
  25. Tommy's Honour
    The performances are desultory, the musical score bullying and the drama — aside from the game-changing placement of inconvenient shrubbery — as predictable as Tom senior’s steadily sprouting beard.
  26. 37
    It is a competent if sometimes heavy-handed affair, a mosaic of fictitious and underexplored characters who hear the assault but are too self-preoccupied to act.
  27. The Comedian
    The director, Taylor Hackford, never makes any of this pop, which isn’t a surprise given the material.
  28. Bitter Harvest
    Bitter Harvest feels awkward and parochial.
  29. SiREN
    The film, directed by Gregg Bishop and released by the Chiller Films horror factory, has a few good special effects, but it’s too noisy and scattershot to be suspenseful.
  30. Wilson
    The dark, comic poignancy of the book is drowned in garish, self-conscious whimsy, and the work of a talented ensemble is squandered on awkward heartstring snatching.
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